robinella and the cc string band

PHOTO
6R
Welcome to the PhoenlH music Issue. I would like to flnt eHtend a
thank you to the students who were willing to submit their works
for c:onslderatlon.They haue all proulded different ulews of the
KnOHullle music scene, and In the process helped record a little bit
of KnoHullle's history. their Interest and dedication haue been un­
wauertng, and I can only hope that we haue proulded some Inllght
Into the ouenuhelmlng talent that Ii allue In KnoHullle.
We were fully aware, when we started the process of acc:umulat­
Ing quotel, Interulews and submissions, that we could not possibly
do justice to the musicianI who haue been Influential In KnOHullle.
Thll II an outline, with leueral holes l am sure, of strong Influence
and dedication that c:ertaln people haue put forth. In an attempt to
dlscouer a glimpse of what Inspires these musicians, Todd Steed,
Don Coffey and many others were asked seueral questions regard­
Ing KnoHullle's music scene, penonal lnsplratlon and other topics.
The quotel that emerged were Just an eHample of how much musical
pallion Is auall able In KnoHullle.
Rfter three years of working with PhoenlH magazine I wanted to
leaue this publication with lome thing eHcltlng and Inspirational, but
after helping produce IIH Iisuel I haue found that I am always the
one that Is Inspired through slowly piecing this magazine together.
The music scene In almost any city contlnuoully wauers and tri­
umphs. MUSicians find something to hold on to and then It Is gone In
an Instant, lost to the neHt beautiful uolce or blond bomblhell. These
are the upl and downl of life that eueryone goel through, and
lomethlng that studentl haue alwaYI been able to rec:ord through
poetry, prole or II little relearch. So, for the last time, thank you to
thOle who were willing to reach a little further to find these truthl.
Chrtltlna connally
Staff:
Edltor-In-Chlef: Christina Connally
Managing Editor: Nick Roberts
Poetry Editor: Holly Haworth
Fiction Editor: Rachel Rlnsworth
Rrt Editor: Mel Scudder
Design Editor: Dickie Phipps
CD Editor: Daniel Dose
Support staff:
Stephen Townsend
Chelsea Bearden
Tekeshla King
Rdulsors:
Eric Smith
Jane Pope
PhoenlH
Room
5 Communlc:atlons Building
1345
Circle Park Drlue
KnoHullle, TN
37996-1314
Online: http://web.utk.edu/-phoenIHI/
Email: phoenlH IOutk.edu
•
Copyrtght
2116 by the Unluerslty ofTennellee.
RII rlghtl releroed by the Indl­
uldual contrlbuton. PhoenlH II prepared camera-ready by Itudent Itaff mem­
bers and
II
pubilihed twice a year, eHcludlng Ipeclal illuel. WOrkl of art,
poetry, fiction and non-fiction lire accepted throughout the llcademlc year.
rned out
Before I Ie
sewed
The
rm was ripping out at the s
d to it
I ha
and
fact s
Shabby eleg
her better,
heady world
ripped off,
e sewed back:
turn and
bandit
PheoniH
Inte ruiew with
ENNY
Benny
S M I T�
Smith, now manager of 98.3 The Rock, has transformed the public's
awareness of local and IIDe music in KnoHDilie. He has worked with seu­
eral different radio stations throughout KnoHuille but has settled with
U.T. once again, bringing about a transformation the station has not seen
in y ears.
/J
What influenced y our music career and why did y ou choose to stay in
KnoHDille to continue y our career?
9
Wow, I guess I should begin with the fact that I am a music nut, and
alway s haue been, and that is because I grew up in a family that loued
music. My mom and dad were in a southern gospel quartet in the 58's and
early
'I's, and my mom always played piano and organ at church. My two
older brothers had me listening to the Rolling Stones, James Brown, Otis
Redding and many others at a Dery early age. Then, being blessed to grow
up in E ast Tennessee, I heard a lot of bluegrass and hanky tonk country
back home. I used to listen to R. M. radio growing up, and the uariety of
music that was played then was a big influence. I was alway s deejaying
parties and turning all of my friends onto different music when I was
growing up. My school locker was alway s pasted with pictures of the
Stones,
Neil Young,
my locker had U.T.,
P - Funk
[olts,
.•.
but I also played sports growing up, so half
Yankees,
[eltics stuff too. I needed the balance
I guess. Later in life, working with and becoming friends with musicians
like Scott Miller, Todd
Steed and many others really influenced me. Of
course working with people like [huck Burnley (owner of Planet Earth,
Liue Music [Iub in the Old [ity), Rshley Capps, and the staff at R.C. Enter­
tainment back in the day also played an influential role in my laue and
passion for music, and ultimately for radio.
/J
How did y our work at WDUH prepare y ou for what y ou do now?
9
Well, it really didn't prepare me for what I do here at all. I already basi­
cally ran this station (WU T K) y ears ago, and had many y ears of radio eH­
perience prior to helping start WDUH. Unfortunately , some things hap­
pened with management at WDUH that forced me to make a decision about
whether I should be inuolued with that station any longer, and I made the
correct decision not to be inuolued with WOUH.
My work there did teach
me to be more protectiDe and careful with my own Ideas, trust In others,
commitments and hard work.
I was very instrumental
both before and after it
local and regional music scene,
the station up and going, as well
the station. I also gave Tony Lawson
Americana format, as he was not
leaning more toward an aD bluegrass
"Soppin' The Gr� Bluegrass Show" on
love ti.Jegrass, that was just too shalbw of a
funding in.I played a. for TOO)' one night
Lafollette with � on itl told him
WfJJX should sound -..as � would be more
tentiallisteners, and stiI irlKIe bluegrass.
earo/ days
bands, the
to getting
raising for
be an
He was
days" ofWUTK in the late 80s and earo/ 90s, when the station realo/ made a
difference with the music, the message and tJy finding ways to help our commu­
nity be a better place for everyone. There realo/ is not a single station in
Knoxville that offers modern rock like we do or that plays and supports the local
music scene like we do. Knoxville nreds that and we intend to provide that. I
started to work in radio when I was sixtren years old back home in Grreneville
at a small AM.station, WGFfV. I saw the amazing influence that a Iocalo/ owned
and operated radio station had on the community back then. Sado/ enough
though, now that corporate America has talken over radio in every market, that
local flavor and influence does not play as much of a role in cities the size of
Knoxville or larger. I want WUTK to be a window for the off-carnpus world to sre
and hear some of the great things happening here on this campus.We malke
our decisions here in our office, and do not have to wait for a consu�t from
New York or LA to call us to tell us what to do. The people who malke our deci­
sions live, work and play in Knoxville, so we frel we know better what the people
here want than any consu�ant hundreds of miles away Uke our promo com­
merdal says, "consu�ants ... we don't nred to stinkin' consu�ants!" (with all
apologies to the classic movie 'Blazin' Saddles'). WUTK also wants to work more
with organizations on campus, like the campus entertainment board, t):1e athlet­
ic department and many others. Back when I was here as the program director
in the late 80s and earo/ 90s we helped bring some great bands to campus
and we want to get back to that.We have contacts with record companies and
can help fadlitate those sorts of things.
What, in your opinion, has bren the greatest musical developl"1C'lt I(noxville has
sren?
Well, I am confidant that WUTK has realo/ helped talke the support for our great
local music scene up a few notches, so I frel that is very important. We are
proud to be able to do this on a daio/ basis. The ripple effect from that can be
amazing, and we hope to be the catalyst for that. There are so many more
quality live music venues now in town for bands to perform in front on their
fans, and that is a great thing. I frel that our support for these venues, and their
support for us through underwriting and sponsorship, has realo/ paid dividends
for the scene as a whole.
Can you explain the
envisioned the aeVI=lopmer
Well,the name change was
hated the name, The Torch.
same name, and there was some
we polled had no idea w'ro/ it was call�:r�,.
to U.T. they would more than likeo/ not
very alienating moniker, and not a good
back to the name that a lot of our listeners
call us, and that was, New Rock 90. Unfortunate�
sion to change that name a few years ago, and now
had the New Rock moniker registered with the arbitron
system, so that
name was out. I wanted a name that both student listeners as well as non-UT.
listeners could all relate to, so The Rock was chosen.
What were your goals originalo/ and how have they changed?
The main goal was to provide an amazing opportunity for U.T.'s coli
munications students as well as students from other colleges inside the
sity to gain practical experience to go along with their class studies. One's .
never realo/ earns a person a job, but practical experience and contacts do, so
offers a chance for the students to get some experience before they
which is rare these days. It also offers the communication students a
this is realo/ what they want to do for the rest of their lives
their time and money on a degrre and u�imateo/ a carrer.
WUTK a strong influence in the community again. It
now, and we wanted to get back to the
From a bit different angle, the
of Market Square has bren a
great thing. "Sundown in the
''l\utumn on the Square" have
I was at AC. Entertainment when
been great additions.I am proud
we 0'EIiIti!CI "Sundown in the City" We knew that it would be a great thi"".ftJ»
day anlitj;
What has neJpe�
� haWlg be!rer� play, and a
helped across the board. Also,
Tennessee Theatre. I am not trying to
Jorthe local music scene has bren a major
year or so.
'IkI, we jist want to continue to work hard1b:promote the IOOf music scene,
and to encourage more bands to ttm rim play live, and to'M)rk hard at
beccming better at every gig. ., want to encourage all bands in the East
Tennessee area to send �the i r music so that we can play it.
�
We work quite a bit
cal music into our regular day to day
otation, and then Ul.ete is our two hour "Locals Only " show
luesday nights at
m. We want to get out and sponsor
more "Locals Onl
ghts," with local bands playing live at
area venues. 500 , we will get to work on a local music com­
pilation that we will sell, and the proceeds will benefit the
station. We have some big plans for that, and we will also be
sending the disc out to all of the labels we work with.
photographer
Douglas
Conway
-
..,
--
..,
c
=
untitled
These pictures were ti
late Otha Turner. The mu
try. Otha helped re-popl
of the south.
R block party celebratl
summer in Nashuille. It
loiters like proper sout
abated. The light is amb
They start off-stage
follow as they proceed
so they file down to the
hibitions are lost, if the
submit to the mob, as t
these photographs.
*For more information
n
in the summer of 2885 in Nashuille, TN. They are the relatiues, mostly grandchildren, of the
that they are playing is drum and fife, which predates most, if not all, instruments in this coun­
iize drum and fife which had preuiously eHisted mostly in the Mississippi Delta and other parts
his birthday is the back:drop of these particular pictures, one of the best things to do in the
atered with barbecue and the beer is endless. Kids run around as eueryone else mills about or
lers on front porches. They begin playing around dusk:, when the humidity has somewhat
I, and the crowd is dissipated.
a note from the fife, played by Otha's granddaughter, who now plays it in his place. The drums
he stage pick:ing up anyone inclined to dance. The attention of the loiterers is easily caught and
Ige. Ht this point it is hard to accurately describe the mood of the crowd or the euent itself. In­
men't been already during the course of the day. People loose their sense of self and willfully
uent simplifies into one unifying principal, defined by me as rhythm, and captured, hopefully, in
t www.othaturner.com
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ric
s
ey
poetr
One euenlng at the Preseruation Pub In Old Town,
The stereo music sifted through the dank cigarette smoke;
the steady murmer of discussion punctuated the
syncopated clanking of the glasses.
The man In the brown corduroy jacket paused.
He looked uacantly at the rows of liquor bottles
H middle-aged man In a wrinkled white shirt, maroon tie,
and rumpled corduroy jacket stared Into the depths
lined on a shelf behind the bar and
he flicked an alb from hll cigarette.
He cleared his throat, took
of his scotch and water. He tugged at his tie,
lit a Salem, and confessed to me:
another sip of scotCh, then said:
For a few years she would call me at odd times,
I knew a girl once when I was at college up north.
She was pretty and blonde, just graduated
from Dassar with a degree In music history.
She liked Strauss and I liked Wagner; we played
uneHpectedly, and say, I just heard
The Euerly Brothers' song ouer the radio. Do you
remember that night In I thaca so long ag01
each other for the night, touching on strings
When I heard her uolce
strung tight.
the night came back to me; the cold comfort
Then, on the following euenlng, we made
of an old memory.
our own concert In the creaking bed
But that was many years ago,
of my rented room, under the poster
of Picasso's Old GUitarist. Hs we caressed
a song played on the radio; an old song
by the Euerly Brothers. You know
he said. Maybe she Is married now; maybe
she has moued far away to another country;
maybe she has forgotten about me, or
she doesn't listen to the radio.
how It went1
Perhapi that song Is neuer played,
Darling you can count on me,
he laid.
'TIl the sun dries up the sea.
I drank the lalt measure of my lager,
The moment affiHed itself; an Indelible chorus
of music and motion. The sound ... and sweat,
her blonde hair spread across the pillow,
The Euerly Brothers' song flowing In the air.
let the glall on the bar.
I laid goodbye to the old man
In the corduroy coat,
pulled open the heauy wooden door of the pub
where the sounds from Inside followed me,
Through the years my loue will grow,
In the cool autumn euenlng.
Like a rluer It will flow.
It can't die because I'm so
deuoted
•.•
then softly dlilipated
..•
to you.
When the music ceased,
all was momentarily stili.
She said, In a soft uolce:
I'll always remember you when
I hear this song. Hnd when
I hear It play, I'll call you,
just to say I'm thinking of you.
rapher
reo (. Parl(er
titlP
N 0 [0 N I
etimes now, in
nise at the back
and hyacinth nec
my hand cradling
my kaleidoscope
fold open with
ited my SiH-y
of the time w
brotherls enemy
numbly locked t
and told them to fight. My brother
looked at me with disbelief and terror
when the mercenaryls first punch struck.
and a minute later. when the plano wires
of guilt won ouer my stain
as the last carrier of an immigrant
anger. I stopped it. The blond boy,
with his mature. mean e
with triumph. but it was
Ihe belief in betrayal
I I
member, and itl
ained from lack
rls eyes,
IIUU 11:.�IIU
att
Huntunen
UUII:.�qu
I
I:.
(drummer for Llama Train)
"Let me put it this way,
because of music I'll always be ok."
"Euerything musical has an
erlying rhythm.
I t's amazing to be the one that prouides that."
" I f someone is dancing when I'm playing they're
feeling what I'm feeling."
John Mont
(member of Garage DeluH
t musicians."
l about. fDr mos
al
Is
it
t
ha
w
ly
al
Liue shows are re
and
transferra,back
g
in
be
gy
er
en
g of
" I loue the feelin
. addlctlue
. It
clc
ba
d
an
d
ow
cr
nd to the
forth from the ba
It
t more.
no
if
ug
dr
y
an
as
Through the ups and downs of Knoxville's
played 45's and I would wake them up play­
some really great jazz stuff and it just keeps
music scene Ashley Capps has been a
ing music on it when I was about two years
going. It's a hobby for me at that particular
steady influence that has left a distinct mark
old. Both of my parents have a love of music
point but it's an all consuming hobby and it's
in the community. His dedication has helped
so I guess I sort of inherited it. I learned
taking up more and more of my time and it's
bring musicians and bands from all over the
how to play saxophone and I was in the
diverting me. I had graduated from college
country to perform at local venues. When
school band, and continued to play saxo­
in '79 and I went back to graduate school
Capps took it upon himself to book an
phone through college and then for fun ever
but there's this other thing that's occupying
unknown band at the Laurel Theater in
since to some degree. I don't really have
a lot more of my time. I had gone to archi­
1979, it was the beginning of an unwavering
much time to do it now. But when I was in
tecture school and then I had gotten a job
career that would eventually bring a wide
high school I was editor of the school news
while I was there and I started making some
paper and I was really into writing about
decent money doing that so I didn't go back
music so I've always been a fan who wanted
to school. I was still doing some concerts on
to share my passion for music with other
the side which I had done in architecture
people. When I was a senior in high school,
school, which was probably the craziest
WUOT, the public radio station at UT, had
thing in the world. My teachers thought I
some rock and jazz shows that were on late
was insane. When you go to architecture
at night. There were a couple of people, a
school you're not supposed to do anything
guy named Bill Chandler and guy named
but architecture but I was unable or unwilling
Jamie Zapalac and they were playing all this
to make that commitment.
music that you couldn't necessarily hear on
the radio and I was fascinated because a lot
But at this time I met Peter Calandruccio
of it was music that I was really interested in.
who was interested in the redevelopment of
So I called them up and we would talk about
the Old City. At this particular point it was a
music and at one point Jamie said, "well, you
deserted area. It was not a safe part of
ought to do one of these shows." So at the
town and there was no reason to go down
end of my senior year of high school I some­
there except there was one restaurant called
how ended up with a radio show at WUOT.
Annie's. It later became Lucille's. But at this
Phoenix: How did your interest in music start
the Bijou and every now and then a bigger
developing towards more of a career?
show at the Tennessee Theater. But Peter
point I was doing about a dozen shows at
range of artists from Alison Krauss to
Widespread Panic to Knoxville.
Capps has seen it all you could say.
From an architecture career to starting a
Ashley: The first concert I booked was years
was really the one who said you ought to
club, he has somehow always been pulled
later in 1979, and it was a show at the
open a club so we put it together and did it.
back toward music. Sometimes it may have
Laurel Theater. There was a guy who was
That was Ella Guru's and I quit my job where
been a little rough, but these days his book­
booking very offbeat artists down in
I was in the canvas business and started
ing agency, AC Entertainment, seems to be
Birmingham, Alabama. There were a couple
going full time.
the hottest thing Knoxville has to offer. As
of artists that I was interested in going to
the father of Bonnaroo music festival,
see so I had tried to call him up. He said,
Phoenix: With Ella Guru's and later
Sundown in the City and booking agency for
"well they're driving right through Knoxville,
Bonnaroo, was it ever a goal to book bands
Tennessee Theater and many other venues
why don't you do a show yourself?" So I
that were not as popular with a mainstream
across the Southeast, AC Entertainment
organized a show myself at the Laurel
audience or was that just something that
doesn't seem to be losing any momentum.
Theater. There was so little going on then
happened naturally?
Through it all Capps has come out with a bit
and especially on that level and it sold out. I
Ashley: I've always had very wide ranging
of wisdom, and even more excitement about
think I charged maybe three bucks.
musical taste and I also have a lot of interest
in artists who are not exactly a household
the future of Knoxville's music scene.
Phoenix: Eventually you opened Ella Guru's.
name. I like a lot of really popular artists
Phoenix: How did you first become interest­
What were the steps leading up to that
too. I was a huge Beatles and Rolling Stones
ed in music?
change in your career?
fan. I like mainstream artists but I have a
Ashley: It sort of evolved organically. When I
Ashley: That was the first point of really
tremendous appreciation for different forms
was in high school I certainly never imagined
deciding this is what I'm going to do. When
of music that many people don't particularly
it even though I was a big music fan. It took
you're willing to do something like that your
care about. But there was never a conscious
me a long time to really decide that I was
name starts getting out there a little bit. It
decision to do only cool, underground stuff.
going to make a living doing it. My love of
just got bigger and bigger. After doing a
And there's still not today, but that was
music is something that goes back as long
handful of shows at the Laurel Theater and
where the opportunities were at first. There
as I can remember. My parents have stories
then suddenly we're at the Bijou and we
were other promoters who were doing all
about this little red record player that only
were booking David Grisman's Quintet and
the big stuff, so my opportunities were in
areas where no one was really working with
meaningful way.
Phoenix: Is it difficult to draw the line between
that you have a personal interest in and making
going to promote the interest of AC
Ashley: It used to be. It probably had to do with
approaching it as a hobby, so it was more
wanted to do. It was also just me so I didn't
else to answer to. At this point I have about
here who are working really hard and they're
me not doing anything really stupid. It's funny.
but I also feel an obligation not to waste
that and I always approached it from that
ness is about making things work, and the
you have to deal with are a part of that eQUlatlCIQ
shows that everyone wants to come to. But I
of introducing an artist to an audience who
convincing people that this is something that
their time and money in when they're not
the radio.
Phoenix: Do you deal a lot with less <>vn<>"A,nt"4iiO
who expect your help?
Ashley: I think the most difficult thing is when
are the key to their success, that we can
for them that's suddenly going to make it all
not true. We're facilitators and we can help
positions when they're ready to be there. The
music and the power of live music is in this
artist or a song can have with a fan and
thing, that song that touches someone in
means something in their life. That's what
and that's what an artist is dependent on
happen.
Phoenix: Do you have any advice that you
come to you for help?
Ashley: I think that working hard at your
one, that you are entering into a business
are certain realities about not only
great music but how you present it and
that very special thing that is almost
to care about what you do. My advice to
and analyze the work of the artists that
themselves and what makes that work. But
element about being realistic about it. The
you are going to be successful as a mUS;IClat\�
and thousands of bands out there and
making a living. There's very few who really
level of success. In a lot of ways it's fun and
you're totally passionate about and you're
other aspect of your life on hold or on the
do it, you can achieve it. But what looks
much harder and much more work than a
Phoenix: How did the transition from Ella
decision to keep working in the music indus­
come back to Knoxville so we did a show at
Guru's to starting AC Entertainment occur?
try?
the Bijou. And all of sudden it was like, this is
Ashley: Ella's was a difficult situation. It made
Ashley: AC sort of grew out of the ashes of
better than the club. We don't have to do this
a really strong mark in the community and
the whole Ella Guru's experience. I had devel­
every night. We can just pick the ones that
people still come up to me and talk about how
oped a number of really solid relationships out
work and so on and it just never stopped. At
much they miss Ella Guru's, which is amazing
there with agents, managers and artists. We
that point we just kept going. It was sort of
to me because it was about fifteen years ago.
had some of them booked for after the first of
like going back to what I had done at the club
It was just tough. There were actually two
the year at the club. But I wasn't really think­
except I didn't have a job at that point, so we
were doing it with a little more urgency.
because we eventually moved to what's now
ing about the future because we were opti­
the Foundry in World's Fair Park. The one in
mistic that it was going to work. But then all of
the Old City, which is where the Melting Pot is
the sudden it was early December and I didn't
Phoenix: It seems that you have always
planned other events on the side such as the
now, was a small room. It only held about two­
have that kind of cushion. It was a bad situa­
hundred, two-hundred and fifty people. It was
tion. The minute the cash flow stopped we
Hot Summer Nights program and eventually
a special time. What we managed to accom­
were dead in the water. By December 18th we
Bonnaroo music festival. Were these events
plish in that room still amazes me when I look
shut the doors and I had absolutely no idea
something that you always wanted to be part
back on it. We had some incredible perform­
what I was going to do. But between
of what AC Entertainment developed?
Ashley: We quickly realized what we needed to
ers.
do to grow. One thing was to try to find an
Phoenix: Who were some of your favorite
outdoor venue. The World's Fair Park was just
musicians that played at Ella Guru's?
sitting down there. We started doing these
Ashley: John Prine played there, Widespread
shows that we called Hot Summer Nights in
Panic, Wynton Marsalis, Richard Thompson. It
1992. People loved it for the most part. It was
was an incredibly wide array of performers.
hard because we had to go down there and
The Neville Borthers, Nanci Griffith. Even five
put up a stage every day. It was pretty insane
years after that there would have been no way
really, but it ended up being a great tradition
to have gotten those artists to play for a two­
and we did it for about eight years I think. A
hundred seat room because that was right
lot of great bands played there. We had No
before the point where artist guarantees and
Doubt, Creed, The Offspring, Dave Matthews
ticket prices started really going up. We did
played several times and Widespread, Santana
have something really special going on for a
Christmas and New Years I got a call from an
while but it really didn't work. There just was­
agent (Mario Tirado) for Wynton Marsalis, who
probably did about one-hundred and forty
n't enough up side to balance everything out.
was a good friend of mine and is to this day.
shows in an eight year period. That got us
and the Allman Brother's Band. I guess we
I got into a conflict with the landlord who was
But he wanted a date for Wynton and this was
into doing the outdoor event thing. The next
my friend Peter, who originally had the con­
right at the end of January. I was like, "Mario, I
logical step was doing a festival. We did
cept. He was in a difficult situation too. It was
don't have any money, I can't do it, the club's
Mountain Oasis which was a camping festival
over in Western North Carolina and that was
early in the curve for the Old City and it was
closed." He said, "I need a date, it's January
maybe a little too much, too soon for him. So
the 24th, you need to do it, " and I was still
the real predecessor to the Bonnaroo con­
he was in a bad position and I was in a bad
saying, "Mario, I don't have any money, I'm
cept. We were already working with bands like
position. We got into crossed purposes and
out of business." He said, "you don't under­
Phish and Widespread Panic and String
then I moved over to the World's Fair Park
stand, I need a date for Winton Marsalis for
Cheese Incident and this whole genre of the
and then there was Operation Desert Storm.
January 24th. Find a place to play." We went
jam band, where the fans would follow them
around. That was very much the audience that
The economy just went crazy, so we closed.
back and forth and he finally said, "well, don't
Everybody just quit buying tickets. It was like
worry about the money, just find a place to
came to Mountain Oasis, which was much
somebody flipped off a switch. We had the
play." We ended up doing in at the UT Music
smaller. It was set up for six-thousand people
biggest month of the history of the club in
Hall. Wynton basically played for a percentage
but we ended up having to turn a lot of peo­
November and the worst month of the history
after expenses, which was unheard of. We had
ple away. So the logical step was, wow, what if
of the club in December. But Alison Krauss
a pretty high ticket price at the time. I think it
we got Widespread to do this. That was the
played right around then and that was one of
was twenty, twenty-five dollars. The long and
genesis, really, of Bonnaroo.
the first shows I had done with her and I think
short of it was I was back in business. We had
the last show at the club was the Goo Goo
a very successful show. I had a little bit of
Phoenix: Do you feel that there have been
Dolls.
pocket money. A guy named Troy Sellers, who
certain artists that have helped your career as
had worked with me at Ella Guru's helped at
well as the music industry in Knoxville grow in
Phoenix: After Ella's closed you eventually
that show. In the meantime, even before that
the past?
started AC Entertainment. Was it a difficult
show happened, Widespread Panic wanted to
Ashley: There have been a number of great
really ready. I think it can be a disservice to
bands over the years that have developed in
this particular point. Every now and then we
Knoxville and there still are. There is in many
get really enthusiastic about a band and we
put a band that is not ready out in front of a
ways a great music scene in Knoxville. I really
really start thinking maybe we ought to do
large audience, and being ready doesn't nec­
think that kind of the godfather of the
this, but we don't. We've even talked about
essarily mean being good. It's being sea­
Knoxville music scene to me has got to be
trying to develop a record label, because I
soned, because there is a certain experience
Todd Steed. He's just so tireless. I first met
hear a lot of really great music here and in
that you can only develop by being out in front
Todd when he might have even been still in
this region and I think there's something
of people and performing. There are only a
high school. He was in the Real Hostages
that's coming along that fascinates me.
before he was in Smokin' Dave and the Premo
limited number of bands in the community that
we can work with and we feel are ready and
Dopes. The Real Hostages, that name comes
Phoenix: Is this something that you've talked
can play in the situations that we have to offer.
from the Iranian Hostage Crisis. Todd has just
about seriously?
We don't have a club and a club is really the
been a real inspirational figure on the music
Ashley: Well we've talked about it but there's a
principle scene for an artist to learn to devel­
scene here in town and he's done it his own
huge commitment to doing that. I don't want
op those skills of presentation and that inter­
way. His music has really developed in a lot of
to manage somebody and do a poor job
action with the audience. We don't have that
interesting ways over the years. But people
because we're not spending the time and
particular role and having done the club
like Hector Qirko, who is also an amazing fig­
resources that need to happen, and the same
scene for two and a half years, that's a place
that I don't foresee going.
ure here in the Knoxville music scene, one of
thing with a record company. I don't want to
the greatest guitar players in the world in my
do it casually. So we still discuss it and think
opinion. He's mostly known back in the day for
about doing things like that but right now I
We're lucky though. We have a lot of really
his work with the Lonesome Coyotes, who
think our primary role in the music scene in
great things going on. I always find myself
have recently come back together, but also
Knoxville is creating great events and trying to
walking a fine line when people ask me what
with the HQ Band and also his work with RB
develop great opportunities for everyone to
sort of advice I would give to an aspiring
Morris. Of course RB Morris is also an amaz­
musician. I'm a big believer in people following
ing talent here in Knoxville. He's world class.
their passion, which is sort of what I've done
For me those three guys have been particu­
even though that's not always what I thought
larly important, if for not other reason than
I was doing. I think people should do more of
they have been a steady continuity now for
that and trust their instincts. But sometimes
decades. But there are so many others. Scott
it's really important to have a reality check
Miller is an incredibly talented song writer, and
and I got my reality check sometimes the hard
there's a national awareness of Scott and he's
way. I got like really slapped around and
got a good following across the country. And
popped on the head a few times but that's
then there was of course the Judybats, and
what you have to do. At some point, as an
then Superdrag is another one that comes to
aspiring musician, you have to have a really
mind. Right now there's Ten Years, so there's
hard reality check with yourself and see if this
a lot out there. I start thinking of other peo­
is something that is a great hobby for me but
ple. There's Donald Brown. He's got an inter­
is never really going to be anything more than
national reputation as a jazz pianist, a fabu­
that or do I really have what it takes to get to
lous composer, great band leader. And there
a certain level. And really more to the point, if
was Terry Hill, who unfortunately died a few
play. But I think it's very important for the
I do have what it takes to get to that level, am
years ago, but was an incredible guitar player
local music scene for a good variety of nation­
I willing to do what it takes? It is an enormous
who led a lot of great bands here in Knoxville.
ally known artists to come in. I think that the
commitment and it takes a focused determina­
There's just so much.
people's exposure to great artists is inspira­
tion to be successful. I remember reading an
tional. That's something that I think is a major
incredible interview with Bruce Springsteen
Phoenix: Where do you see AC
part of what we do, creating an environment
back when he was huge in the 80s. They
Entertainment's influence in the music scene
where people are interested in live music and
asked if it surprised him to be so successful
heading, particularly with Knoxville bands?
are getting out and supporting live music
and he said, not really because I sort of see
Ashley: Well, there's Robinella and the CC
because I do think that influences a local
this as a result of every decision that I have
String Band, how could I leave them out.
scene in a lot of ways. The other thing is, that
made in my life since I was twelve years old.
They've got a new record coming out right
we try to give local artists opportunities to
It's sometimes scary to realize that somebody
after the first of the year. I think Robinella
play in front of larger crowds. Our principle
can have that degree of focus at that age. But
could be huge. It's interesting. To me there is
vehicle for doing this is Sundown in the City
being a successful artist requires every bit of
a whole synergy of activity that we're all a
whenever we can. It's tricky because a lot of
the discipline and focus and determination as
part of, everybody that involves themselves in
artists want us to do this for them and there
being successful at anything else and maybe
music. Our role, we don't manage bands at
are really a limited number of bands who are
even more.
odd ste
"What I loue about InoHuilie bands is that It's uery
rare to see something phony or trying really hard to
sell out."
"What a difference being three hours from Nashuille
malees."
"My dad used to and still sings with a 60spel 6roup
(The Elderly Brothers) so I got to hear him singing
around the house a lot."
"Music just seemed an essential part of growing up."
" I tls about as predictable as the weather or Imelda
Marcos. I haue no idea where it IS going, hopefully
somewhere interesting." (on the future of music in
KnoHuille)
"11m the youngest of fiue leids so I got to hear dames
Brown, The Beatles, and The Beach Boys instead IIf
nursery music."
her
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